One of the core topics of this Web project has always been the contrast between the Classical beauty ideal of past centuries and the ugly aesthtic of modern times, and how this past/present dichotomy is reflected in the difference between the historic Western veneration of full-figured beauty and the modern resentment of voluptuous femininity.

Recently, a Czech artist named Tomas Kucerovsky sent us a sample of his one of graphic illustrations--a page titled "Wrong Century," originally created for an art magazine.

As you can see, the page perfectly encapsulates the theme of the Judgment of Paris:

In the page's narrative, a beautiful young woman is seen browsing an art gallery--the Alte Pinakothek in Munich.

Observe how, in the very first panel, her colourful red shoes contrast with the drab, lifeless individuals and environment around her.

In the second panel, a sour, wizened old man grimaces at the sight of her soft, lovely curves, accentuated by her vibrant red top.

In the next panel down, a pair of Eurotrash louts--the sad progeny of over 60 years of American anti-German indoctrination, which has disconnected Teutonic youth from their own noble cultural heritage--make crass gestures about the girl's womanly hips, even as her buxom curves come into view. Observe the program guide in her hand, which reads, "Rubens."

In the fourth panel, at the bottom, the artist reveals the girl's lovely, well-fed features, so similar to those of Rubens's gorgeous models, with her long, fair tresses and the luscious curve under her chin. She looks up with a wistful look of sadness and longing.

The final panel shows the object of her gaze--Rubens's masterpiece, The Rape of the Daughters of Leucippus (c.1618). Of course, the goddesses in the painting exhibit plump facial features and soft, robust figures precisely such as hers. It is as if one of these beauties were reincarnated in the present day, and now beheld her own veneration of centuries ago.

The theme of the page is clear, and the title of the piece confirms it: the girl visiting this museum was born in the wrong century, for in any other era her generously indulged beauty would have been worshipped and celebrated.

In the degenerate modern age in which she lives, however, her loveliness cannot be comprehended, and the public has been brainwashed into accepting the beauty-hating tastes of the arbiters of modern culture.

Of course, our tragedy is every bit as great as that of the girl in the museum. For we too, the general public, have been deprived of beauty. Our inability to respond with adoration to the timeless ideal of full-figured femininity is every bit as tragic as her inability to have her beauty admired. We cannot see with the noble eyes of the past any more than she can be seen with such profound vision. And we are all the poorer for it.

This is the grim legacy of the West, after it surrendered control of its own culture after the war to a hostile elite, out of guilt at Western Man's supposed misdeeds. And if we never take back the tiller of our civilization, we will never again be able to create masterpieces of beauty such as this Rubens painting, and will only ever be able to look upon it with a sad longing for what has been lost.

Interested readers can see more of Mr. Kucerovsky's work at his Web site (still under construction), linked below:

"Wrong Century," the illustration that artist Tomas Kucerovsky kindly shared with The Judgment of Paris, has become something of an online sensation over the past few months, and as its fame has spread, many readers have asked if they could purchase prints of the panel.

Such an option has now become available.

"Wrong Century" can be obtained in four sizes, ranging from 8x10 inches to 22x27 inches, at the link provided below.

In addition to an art print, the site presenting the reproduction, Society 6, also offers a stretched-canvas version,

as well as a framed edition.

The source page, linked above, describes the quality of the material on which it is printed.

Many who have enjoyed this work will be pleased to have it for themselves in this permanent, gallery-style form--which is entirely fitting, given that the premise of the illustration is the sight of a patron viewing a work of art in a gallery. Thus, a print of "Wrong Century" will put Rubens's artwork within a frame inside an illustration panel, and now bordered by yet another frame.

We hope that Mr. Kucerovsky's illustration will continue to challenge viewers' perspectives and touch their hearts.